Ascetic discipline and austere practice are the family property of the Parur school of violin play passed on from generation to generation.
In that style there is no point in the finger board that the fingers cannot reach, which was demonstrated by M. Narmada when she covered the whole Saveri varnam ‘Sarasuda' in one string without a speck of distorted note.
The solo violin recital by Narmada implied where to look for deep values of music. She chose ‘Nadaloludai' (Kalyana Vasantam), ‘Maravairi' (Nasikabhooshani), ‘Marugelara' (Jayantasri) and ‘Enduku Peddala' (Sankarabharanam) (all Tyagaraja kirtanas). Every item blossomed with sweetness and light.
With unparalleled control over bowing and finger-placing, her alapanas of Kalyana Vasantam and Sankarabharanam emphasised the harmony and purity, the prized quality of performing technique. There was a rare melodic flow, a combination of natural talent and dedication to the family heritage.
Kalyana Vasantam sancharas were epic in appeal orbiting the moorchana landmarks and moving with pulsating pleasantness.
There was a sense of natural ease in delineating the succulent beauty of the raga in simplistic perspective. The articulation of the kriti, ‘Naduloludai' elegantly represented Narmada's true nature of the playing facet. The Sankarabharanam vinyasa was stately marking the radiant boundaries of the raga. The exquisitely chiselled sancharas transformed the raga into an enchanting edifice of course there were places replete with Parur gamaka system. It carried the finest and expressive grace of Sankarabharanam's specific characteristics.
Combining dignity and mellow tones through gana naya, Narmada communicated majesty and loveliness.
The interpretation of the kirtana ‘Enduku Peddala' was polished by flair all her own. That indicated the singularity of her style. It was worthy of the effort to present her musical stature.
B. Sivaraman, the mridangam player and Guru Prasad (ghatam) were energetic in scaffolding the kirtanas with punching beats. The thani was lively.
